John Wick 4 The VFX You Didn't See!

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The John Wick franchise has redefined the Action film Genre
with each new installment costing more than its predecessor, and yet still quadrupling its initial investment.
Just like "The Matrix", "John Wick" has its own set of principles, it has its own style of fighting scenes, with its own style of stunts, and it follows its own rules for lighting, executing, and capturing those scenes.
And just like The Matrix, each new John Wick installment is bigger, more extravagant, and more expensive than the one before.
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But unlike "The Matrix" each installment of John Wick actually improved on the previous one!
And this is because the John Wick franchise has remained true to its filming principles, no matter how complicated the scene was or how hard it was to achieve.
In General, Hollywood Action scenes tend to be close-up, quick, and snappy and the main reason for this is to add speed and energy to the sequence.
Speed and Energy that the sequence lacks either because of how it was choreographed or because of the physical limitations of the actors involved.
Basically, it's hard for the audience to tell an actor is slow and cumbersome, if you hide them within a mess of quick cuts, camera shake, and motion blur.
John Wick's action is generally steady wide shots with as few cuts as possible. And this makes them easier to follow, more dramatic, and visually pleasing.
But it also means that every actor has to be extremely well-trained and every scene has to be incredibly well-planned.
And this perhaps can been seen most clearly in the Paris House scene (otherwise known on set as "The Top Shot")
It had complex choreography, Dog Attacks, exploding shotgun rounds and stunts, muzzle flashes and bullet impacts, Dust, debris, and pyro elements, wirework and smashing mirrors.
It had a tremendous number of independent parts that all had to come together at precisely the right time and exactly the right place. because any slight error meant that everything would have to be reset and they'd have to start again from the beginning.
But with so many components to control it is virtually impossible for absolutely everything to go well in the same take,
so the filmmakers would either have to reduce the number of components in the sequence or add more cuts.
This was a compromise that they weren't willing to make so they turned to visual effects.
On set they decided to use "Plug Fire Cap Guns" (These are prop guns that for safety reasons don't fire blanks, but they do recoil and eject cartridges). The VFX teams would then have to add the muzzle flash and smoke in post and time it to these cartridge ejections.
In fact, most of the pyro effects were left to the VFX teams, The smashing mirrors were just framed green screen fabric on set, and later replaced with practical elements that were filmed independently. And the flying papers, debris, and blood were also added afterward by handing over all of The dangerous, The complex, and The unpredictable elements to the VFX team, the filmmakers could concentrate on the fight's choreography, framing, and timing. Making sure that everything happened when it needed to and that it coincided with everything else.
The Arc de Triomphe sequence was another example of the John Wick filmmakers' unwillingness to conform for less.
Even though they managed to get permission to film in places like, the Garnier Palace Opera House, The Louvre, The Sacred Heart Church, and The Versailles Palace, The Arc De Triomphe was a different story.
12 major roads converge on this 8-lane roundabout that sees hundreds of thousands of vehicles daily, this meant it would be virtually impossible for them to get permission to film there, let alone shut it down completely to be able to perform the car stunts safely.
But instead of changing their plans and sourcing an easier location, once again, they turned to VFX teams.
Rodeo FX had to meticulously recreate every detail of the Parisian roundabout, including cobblestone roads
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